by John Zotos Nasher Sculpture Center , Dallas Continuing through January 4, 2026 Antony Gormley, “Quantum Cloud XX (tornado),” 2000, stainless steel, 91 3/4 x 58 5/8 x 47 1/4”. All images courtesy of Antony Gormley and the Nasher Sculpture Center, Dallas. Photos: Kevin Todora. Over the last forty-five years British sculptor Antony Gormley (b. 1950) has remained a consistently major figure on an international level. His work centers on a critical investigation of bodies in sp

by Matthew Kangas Foster/White Gallery , Seattle, Washington Continuing through December 20, 2025 Julie Himel, “Glitch,” 2025, oil on board, 12 x 12”. All images courtesy of the artist and Foster/White Gallery. Canadian artist Julie Himel presents four paintings measuring at around 4 feet in tandem with nine small oil and mixed-media paintings in her current show, “Awe Struck.” The works obliquely tackle the current issues of climate change, but from the safe, time-honored Ca

by Bill Lasarow December 24, 2025 Doris Salcedo, “Installation at 8th International Istanbul Biennial,” 2003, 1,550 wooden chairs. Courtesy of Alexander and Bonin, New York. The Art World is by its very nature unstable, and in that lies much of its value and strength. It thrives on its dual handmaidens, individuality and freedom. If creative originality is a simple ideal, novelty and eccentricity mark its charming failure. It is not consistent with democratic governance, whic

by Matthew Kangas Blackfish Gallery , Portland, Oregon Continuing through December 27, 2025 Matthew Kangas  writes regularly for Visual Art Source eNewsletter; Ceramics: Art & Perception (Australia); and Preview (Canada). Besides reviewing for many years at Art in America, American Craft, Art Ltd., Vanguard and Seattle Times, he is the author of numerous catalogs and monographs, the latest being the award-winning Italo Scanga 1932-2001. Four anthologies of his critical essays

by Liz Goldner GW Contemporary , Laguna Beach, California Continuing through January 4, 2026 Salomón Huerta, “Night Pool,” 2025, oil on canvas, 54 x 36 x 1 1/2”. All images courtesy of GW Contemporary, Laguna Beach. Genevieve Williams, owner/curator of this five-month-old gallery, is enchanted by art that reveals abstract aspects of our atmosphere. As curator at the Laguna Beach based Honarkar Art Foundation (now closed), she mounted “Luminaries of Light,” displaying several

by Jody Zellen USC Fisher Museum , Los Angeles Continuing through March 14, 2026 Luis De Jesus, Los Angeles California Continuing through December 20, 2025 Ken Gonzales-Day, “Ramonacita at the Cantina” from the “Bone-Grass Boy : The Secret Banks of the Conejos River ” series, 1996, C-print, 22 1/2 x 34 1/4”. All images courtesy of the artist and Luis De Jesus Los Angeles. Ken Gonzales-Day's mid-career survey “History’s “Nevermade"” moves us through three decades of work. Whi

by Margaret Hawkins MCA Chicago , Chicago, Illinois Continuing through February 22, 2026 Clay Perry, “Yoko Ono with Half-a-Room,” 1967. All images courtesy of Museum of Contemporary Art Chicago. “A dream you dream alone is only a dream. A dream you dream together is reality.” — Yoko Ono Yoko Ono is one of those artists whose persona overshadows her artwork, which never quite reemerged publicly in the U.S. after the 1980 murder of her husband, John Lennon. But all along she ha

by George Melrod Rajiv Menon Contemporary , Los Angeles Continuing through December 13, 2025 Rajni Perera, “Primitive,” 2025, acrylic gouacher, aluminum, glass and semiprecious stone beads, mother of pearl beads, and charcoal on polyester, 60 x 84”. All images courtesy of Rajiv Menon Contemporary, Los Angeles. Born in Sri Lanka and based in Toronto, Rajni Perera draws from traditional and contemporary influences to create her own strikingly immersive personal mythology, invit

by David S. Rubin   Shoshana Wayne Gallery , Los Angeles Continuing through January 10, 2026   Sabrina Gschwandtner, “Absinthe, Smoke, Sugar, Choice,” installation view. All images courtesy of Shoshana Wayne Gallery. Since 2009, when Sabrina Gschwandtner acquired a collection of archival film footage that had been deaccessioned from the Fashion Institute of Technology in New York, she has been making geometrically patterned “film quilts” by sewing together filmstrips and exhi

by Michael Shaw David Zwirner Gallery , Los Angeles, California Continuing through January 10, 2026 R. Crumb, “Rabbit … Is My Dome Too Dominant?” 2019, gouache ink, and graphite on paper, 7 x 9 1/2”. All images courtesy of David Zwirner, Los Angeles. Spoiler alert: R.Crumb is an anti-vaxxer. And a conspiracy theorist. But Crumb’s probing, self-critical dive into why he’s gone down this path, including some very specific re-creations of conversations he’s had (one with a docto

by Matthew Kangas Portland Art Museum , Portland, Oregon Continuing through January 4, 2026 Yoshida Chizuko, “Shoreline,” 1950, oil on canvas, 31 3/16 x 25 9/16 x 1 1/16”. All images courtesy of the Portland Art Museum and the Estate of Yoshida Chizuko. This retrospective of Japanese painter and printmaker Yoshida Chizuko (1924-2017) coincides with the museum’s acquisition of 80 works by the postwar artist. Accompanied by an international symposium in October, a full-length c

by Lynn Trimble Mesa Contemporary Arts Museum , Mesa, Arizona Continuing through January 4, 2026 Yuko Yabuki, “Beast,” 2019, mixed media on paper, 62 x 52”. All images courtesy of Mesa Contemporary Arts Museum. Imagine a cosmos swirling in dualities, where the interplay of opposing forces creates a constant state of personal, ecological, and metaphysical balance. That’s the expansive, ever-changing reality presented by Yuko Yabuki, an Arizona-based artist born and raised in J

by Matthew Kangas ArtXContemporary , Seattle, Washington Continuing through November 15, 2025 Alan Lau, “in the peach orchard,” 2001, Sumi ink, watercolor and pastel on rice paper, 53 3/4 x 54”. All images courtesy of ArtXContemporary, Seattle. Alan Lau’s current exhibit is both straightforward and complicated. His variously scaled Sumi paintings are based on reminiscences of and experiences in Kyoto, where he spends part of each year in the family home of his wife, art criti

by Jody Zellen Sean Kelly , Los Angeles, California Continuing through November 1, 2025 Jose Dávila, “Joint Effort,” 2024, concrete, boulder, and ratchet strap, 92 13/16 x 26 1/2 x 22 5/8”. All images courtesy of Sean Kelly, Los Angeles. “The Poetic Dimension” pairs photographer James Casebere with sculptor Jose Dávila, linking them together because of their shared interests in Mexican modernist architect Luis Barragán. Barragán (1902-1988) was a revered figure in architectur

by Liz Goldner Richard Jackson, ''The Laundry Room (Death of Marat)'' (detail), 2009, acrylic, metal, wood, linoleum, aqua resin, plastic, fabric, computer, washing machine, 47 1/4 x 224 3/8 x 224 3/8''. Photo: Stephan Altenberger Photography, Zurich. Two remarkable collections of 20th century California art are now joined together, thanks to the merger in September of the Orange County Museum of Art (OCMA) and UC Irvine’s Jack and Shanaz Langson Institute and Museum of Calif

by John Zotos Keijsers Koning Gallery , Dallas, Texas Continuing through October 18, 2025 Tamara Johnson, “Fruit Cocktail.” All images courtesy of the artist. In 1960 Jasper Johns’ now famous and groundbreaking cast sculpture of two Ballantine Ale cans, “Painted Bronze” (1960), was hand-painted to resemble the original objects. Johns modified this homage to Duchamp’s readymade precedent by fabricating his own sculpture rather than merely finding a mass-produced object and add

by Matthew Kangas Russo Lee Gallery , Portland, Oregon Continuing through November 1, 2025 Michael Brophy, “Infandous: Mute,” 2025, oil on canvas, 54 x 60”. All images courtesy of Russo Lee Gallery, Portland. The exhibit title, “Infandous,” is an Old English word that means “too odious to be expressed" or "unspeakable; nefarious,” which Michael Brophy happened on to describe the overall imagery of his current exhibition. He also wrote a 26-word, haiku-like poem that accompani

by David S. Rubin Matthew Marks Gallery , Los Angeles, California Continuing through November 8, 2025 Luis Jiménez, “American Dream,” 1966, cast fiberglass and automotive paint with epoxy coating, 20 x 29 x 35”. All images courtesy Matthew Marks Gallery, Los Angeles. Luis Jiménez (1940-2006) may be best known as the only Mexican American artist associated with New York Pop art in the 1960s, or maybe for the many controversies surrounding his public art later on. But this surv